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Quick Critiques for 7/13/2005
There's no way that Randy and I can cover all of the material we have for review in full reviews, so these capsule reviews will offer some brief comments on other recent releases.
ACTION COMICS #829
by Gail Simone, John Byrne & Nelson (DC Comics)
 In a lot of ways, John Byrne is a poor fit for writer Gail Simone's subject matter. Her super-heroe stories have a little bit of an edge to them, and Byrne's style is synonymous with traditional super-hero art thanks to his long career. Mind you, I'd be lying if I said it wasn't fun to see him tackle Superman and the New Gods once again. With the sort of tradition hero-versus-villain illusion at the heart of this issue, Byrne's brighter, energetic approach works quite well. Simone's pacing here is a little off. The flashback doesn't have the same impact because we know it's not "real." Furthermore, I don't think the writer provides enough exposition about the New Gods for newer readers. Still, the plot itself is a compelling one, though it's difficult to understand why Superman can't see that he's being manipulated. If it's painfully obvious to the reader, the hero should at least an inkling that something is amiss. 6/10
DESOLATION JONES #2
by Warren Ellis & J.H. Williams III
(DC Comics/Wildstorm Signature Series)
 This second chapter in the ongoing series is much stronger than the first because the setup is over with, and that allows Ellis to delve more deeply into his cast of characters. He introduces a fascinating and tragic figure in the form of Emily Crowe. She's everything a man could want in a woman... beautiful, sexy, strong, brilliant, tender and vulnerable. And her curse is that she turns everyone's stomach. Ellis wisely humanizes the title character in how he cares for this unfortunate soul, and it's a well-timed move, as he exposes the scarred, pitiful, broken body in which that friendliness is housed by the end of the issue. The plot is still typical Ellis -- in fact, the Hitler porn angle is too typically Ellis, so much so that it seems like he's running out of things to say. But the greatest focus on character and his unveiling of the humanity within these twisted machines of dark experience elevates the book from typical Ellis fare to riveting reading. Of course, it doesn't hurt that he's got Williams handling the art. I love that his vision of Emily isn't too sexual but still stands out as special and alluring. 9/10
GRAVITY #2
by Sean McKeever, Mike Norton & Jonathan Glapion
(Marvel Comics)
 McKeever continues to bring together the pure traditions of the Silver Age Marvel hero with a mor credible, modern tone in this wonderfully fun and down-to-earth series. Is Gravity ground-breaking? No. Is there something so unique about it that it stands out from the crowd? No. But the title character and his friends are like warm blankets that feel familiar, comfortable and just plain good. McKeever is playing around in the periphery of the Marvel Universe, so while a familiar figure or two gives the book a greater impact, the writer is also free to introduce new characters and comment on the traditions of the genre, warts and wonders. Norton's backgrounds bring New York to life, but the characters in the foreground are rendered in a simpler style that makes it easier for the reader to imprint upon them, to identify with them. Marvel's really not providing enough support and promotion for this series, opting to focus their efforts on producing variant cover editions and crossover spinoff titles instead. 8/10
NEW AVENGERS #7
by Brian Michael Bendis, Steve McNiven & Mark Morales (Marvel Comics)
 Bendis has something really cool brewing with this new story, set to focus on the mysterious Sentry. The character was something of an experiment in meta-comics storytelling, and ultimately, it was a successful one. Bendis builds nicely on Paul Jenkins's foundation here, planting the seeds for a new Sentry series by, yes, Jenkins. Of course, Bendis really barely gets the Sentry plot going in this first chapter. Instead, he focuses on a couple of cool scenes that don't add much to the plot, but they're undeniably cool and entertaining. The first is a secret meeting of the movers and shakers of the Marvel Universe. Given the long history these characters share and the interconnectedness of Marvel's continuity, such a superhuman power summit makes a lot of sense. And the action of four Avengers taking on a rather lame villain (and losing?) is actually a lot of fun. McNiven's art is as strong as what we've come to expect. He conveys the sheer ferocity and raw power of the Wrecker incredibly well, but the art has its greatest impact when it brings out the Sentry's confusion, sadness and desperation on his face. 8/10
SPIDER-MAN: BREAKOUT #4
by Tony Bedard, Manuel Garcia & Raul Fernandez (Marvel Comics)
 Bedard's story of betrayal gets more and more interesting, complex and grounded with each passing issue, and its strength rivals the villain-oriented storytelling that Gail Simone's offering up in DC's Villains United. The foundation of this plot is all tied up in the origin of a rather obscure Marvel villain (Crossfire), but Bedard delivers a thoroughly accessible script that explores the characters as people rather than extreme superhuman warriors. The plot revolves around double-cross after double-cross, and Bedard's clever plotting keeps the reader engaged. The writer is also making some interesting comments about Spider-Man's struggle to adjust to his new super-hero status as a member of the Avengers. The only problem with this book is the art. Manual Garcia tells the story clearly enough, and his style suits the more grounded elements of the plot. But his figures are sometimes rendered inconsistently. He needs to hone his eye for anatomy a little more. Still, he does bring a slightly dark atmosphere that enhances the tension. 8/10
ULTIMATE FANTASTIC FOUR #21
by Mark Millar, Greg Land & Matt Ryan
(Marvel Comics)
 When I first saw Greg Land's art on DC's Birds of Prey and Nightwing, his smooth, sleek linework and attractive figures made it clear he was going to build quite a reputation in the industry. His later work on CrossGen's Sojourn solidified that rep, and I've enjoyed some of his Marvel work as well. But Land's style has evolved in an unusual direction. He seems to aim for a hyper-realistic tone in his art, and it looks a bit stiff. This is from the artist who brought Nightwing's acrobatics to life with seeming ease. Given his recent work on Wolverine and Ultimates 2, I was expecting something... louder from writer Mark Millar, but this script is actually a more reflective, personal one. This quiet script is certainly not the sort of fare I expected from an "event" such as the first connection between the Ultimate continuity and Marvel's regular universe. I enjoyed the more conversational approach to the crossovr concept, and the twist at the end was a nice touch as well. Furthermore, Millar captures the wonder and thrill of exploration that's at the heart of the FF concept with an exciting and entertaining opening sequence. 7/10
Email Don MacPherson with your comments about this review.
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